You cannot fault the singing in this production of La Traviata, but you do wish that the chorus would look as though they were enjoying doing it. It seems to be a national trait for this part of the world to look unhappy when you are in the chorus, even when you are taking your curtain calls for fine singing. Choruses also have a habit of shambling onto the stage and standing about thinking all they have to do is sing — some acting lessons and better stage direction by Sergei Zuenko would not come amiss. This said you have to thank Ellen Kent for bringing opera to the provinces where even the local opera companies are sparse with their productions, being more intent on getting to London and not serving the needs of the area.

This opera with music by Giuseppe Verdi and libretto by Francesco Maria Piave is based on a play and novel by Alexandre Dumas the younger. It is the story of a Paris courtesan Violetta Valery, beautifully sung by soprano Larysa Zuenko, who becomes the focus of attention of Alfredo Germont, sung by the fine tenor voice of Ruslan Zinevych. A simple mundane story of what appears to have been typical of the time where young women up from the country attract the attention of the aristocracy only to be discarded when they fall on hard times, in this case by ill health. The baddy is this case is her escort Baron Douphol, sung by Igor Gnidii. Alfredo and Violetta start to live together in a country house, but then Alfredo has to leave to see to his affairs thus leaving Violetta to sell off her possessions. Then an unexpected visit from Alfredo’s father Giorgio Germont, nicely sung by Stanislav Trifanau, who urges her to give up his son which Violetta at first rejects, but is soon won over. This gives the basis of the plot which goes through the inevitable twists and turns. This traditional production allows the women members of the cast to dress up in some beautiful ball gowns and the men let their white waist coats hang down below the waist on their evening tailed coats — it’s a pity Natalya Bevzenko-Zynkyna who was responsible for the sets and costumes was not more attentive. The dancing seemed tacked on and did not run smoothly into the plot. The orchestra did what was asked of them under the direction of Yarema Skybinsky. Excellent English surtitles helped the audience follow the plot from the translation.

A fine evening of singing was rewarded by applause at the end, but the direction needs some attention to give this production that little finesse that will make the public flock to see the acting as well as hear the singing. © BA

“La Traviata” is in York on the 2nd June, 2002 and then continues an extensive tour of Britain.